Theatre is one of the many entertainments that Japan offers in the past and in the present. It is a great place to learn about Japan culture and see how differently the audience interacts with the actors compared to how we watch a play. Theatres can show you many things that can make you laugh, help you learn about the history of major events in Japan, and many other things. This source of entertainment is very important to Japan’s culture, history, and how people live in Japan.
Kabuki was developed in the early modern period and was a theatrical form especially associated with the urban merchant class in such cities as Edo, Osaka, and Kyoto. Samurais are not allowed to go to Kabuki theatres because it is dishonorable. Kabuki has its origins in women's traveling performance troupes. The leader of one such troupe, a woman named Okuni, is commonly given credit for creating Kabuki. Her troupe, performed music and dance, and acted both comedic and dramatic stories. So-called woman's Kabuki became quite popular but during the Tokugawa the Shogunate banned woman from appearing in the plays. Then men took over and now only men are allowed to perform so even when there is woman role, the men must act as a woman. But these young male performers worked as prostitutes and in 1652, the government banned young men and adolescent boys from acting in Kabuki performances. In order to control the moral lapses associated with Kabuki, the Shogunate decided to allow only performances by adult males who could legitimately claim to be serious actors. This rule would have a profound effect on the future development of Kabuki. As kabuki became theatrical form in the Edo period, it incorporated aspects of other theatrical forms, including Noh, Kyogen, and Bunraki. Both Noh and Bunraku plays, for instance, were adapted in the Kabuki play repertoire. By the late 1700s, Kabuki was an entertainment for merchants and many other classes, but samurais are not allowed to go to kabuki performances because it is considered dishonorable. But some samurais during Tokugawa period will wear a disguise to go and watch a kabuki play.The kabuki play is very different and amazing to watch because of its special revolving stage. To change scenes, the stage revolves around to show a new setting. This is called mawari-butai and is one of the famous characteristics of a kabuki stage. Another interesting thing that happens during a kabuki play is that during the play, the audience will shout out the name of the actors. Sometimes, the audience will shout out the name of the actor’s father which is really respectful and honors the actor greater than just the name of the actor. The three main categories of kabuki are jidai-mono (historical), sewa-mono (domestic), and shosagoto. Jidaimono were set within the context important major events in japan. Unlike jidaimono which generally focused upon the samurai class, sewamono focused primarily on commoners, often referred to domestic plays, generally related to family drama and romances. Shosagoto is like a dancing play which can have musical elements in the play.
Kabuki costumes are very detailed and give a really good illusion, with the right actor it will be hard for the audience to really see the actual person. Even when an actor is dressed as women, it is hard to see who the actual person is so it will feel as if that is actually a woman. In a kabuki, there are many props such as swords, silks of many colors, and tons of makeup. This makes everything look more realistic and brings the story to life and makes more interesting and fun to watch. If you ever go watch a kabuki play, you should at how the actor acts, how the interaction between the audience and the actors are, and how detailed and how nice their props and costumes are.
One of the most interesting types of theater in Japan is called Bunraku. It was originally made around 1612 when it was performed in only one theater. Then the idea of making plays spread, forming a new kind of country-wide theater, named Bunraku. Over time the theater grew enough that people started coming to it regularly. In Bunraku there are many people that help out with the play. There are people that make the puppets move, dressed in black, and up to three people per puppet. After a while people watching the play forget about the people in black and just focus on the play. There is the “tayu” that narrates and also speaks the puppets’ parts. Finally there is a samisen player, sometimes is accompanied by an orchestra. A samisen is a stringed instrument similar to a guitar. Originally the term “Bunraku” was just referring to a particular theater in Osaka, until people got the idea of the new type of theater performing and made it a country-wide theater.
It takes lots of time and effort to make props and costumes for the Bunraku plays. The puppets are life size, looking similar to real humans. The makeup on the women puppets is usually similar to the native women of Japan and the men look normal. The heads usually have carved in eyes that are painted along with the rest of the face. Sometimes the heads will also have beards and mustaches. The heads of the puppets also are divided into different categories according to gender, social class and personality. The heads are often repainted and polished before plays. The hair that goes on the heads is real human hair. It often also represents character in the puppet. For example what its personality is like and what their traits are. The costumes are designed by a costume master, composed of a series of garment with different colors and patterns. The costume usually includes a robe, an inner kimono, a sash and collar, a vest, and an outer robe. Costumes for the puppets are only repaired when soiled or worn away.
Noh is a brilliant type of theatre. People, including samurai, often come to see the plays that artisans perform. The plays have a dramatic story line, and the actors are dressed up with simple outfits, but with extremely elaborate masks. Noh is mainly acting, but can be interpreted as dance, with the way the people move. A man by the name of Kannami Kiyotsugu was the creator of Noh. He was a very involved actor, but wanted to do something different. He began to learn traditional Japanese dance, but didn’t think the dances were to suit his “style.” So, he began putting acting and dancing together, creating Sarugaku Noh. As it Kiyotsugu taught others about what he had created, it shortened into Noh. The moves were intense and required a great amount of effort, but the plays were short. Kiyotsugu was young when he developed Noh. Some of his older friends began to feel strong aches and pains, so he decided that Noh was for the young and fit, and began teaching kids the art. After a while, he, too, began to get minor aches, and started teaching his eldest son, Zeami Motokiyo. In his late twenties, Kiyotsugu retired, and his son began teaching. Motokiyo was such a great actor, as well as very flexible, he became famous. So famous, that he and a group of tremendous actors went to perform in front of the Shogun himself. The Shogun liked it so much, he decided to keep him at the court to train people the art of Noh. Traditional Noh consists of a protagonist, an antagonist, a very dramatic story line that could happen in everyday life, and background people. The background people are very talented jugglers, acrobats, stunt artists, dancers, and musicians who make the stories come to life. A standard size troupe would be about 15 to 20 people. As time developed the art, the troupes grew in size to as many as 30 people. The term Sarugaku means “monkey music”, which is the type of music the dancers use for the plays. As Noh developed, the new versions of Noh adapted into one type, called Dengaku, which means “field music.” Dengaku is considered the “modern” version of Noh. There are also different schools, or classes of Noh. They are Kanze, Hosho, Kongo, Komparu, and Kita. Each developed different types of plays, and “owned” them. Each school had an average of 5 to six plays that they practiced at a time. They would always write another, and would get rid of one to maintain the 5 plays, in order to bring something new to present. Even with this classification, in the end, everyone is an actor, and they all practice the art of Noh. The dance moves tell a story, the music gives it life, and the acrobats, jugglers, and stunt artists make it magical. Noh is an art that involves grace, communication, and dedication.
The costumes that the actors wore were very simple, but often heavy and thick. They were handcrafted from inexpensive peasant thread, and were made thick so they could last longer. The masks were also handmade, and it took as long as 2 months to make a large and detailed one. The masks were very gruesome and scary looking. They often had angry faces and were inspired by monsters. They were made of clay. The basic structure was often an oval-shaped bowl. Then, the clay was pushed and pulled to create the basic head-shape. More clay was added to draw out the features of the face. Then, a stylus was used to carve out the eyes, nose, and mouth, as well as fold in the skin. The last step was to paint the mask with colored mud or any other natural substances that have an earthy shade. People considered the traditional masks to be claustrophobic, so with modern Noh came improved masks, as well as lighter garments.
Theatre is one of the most recognized entertainments in Japan. Each of these three types of theatres is very important to Japan. These theatres have affected Japan in many ways that helps it develop and to give diversity to Japan. Theatre means many things to many cultures, but to Japan, it means history.
Citations
Wikipedia contributors. "Bunraku." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 19 Feb. 2012. Web. 28 Feb. 2012.
Wikipedia contributors. "Kabuki."Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 16 Mar. 2012. Web. 27 Feb. 2012.
Wikipedia contributors. "Noh."Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 26 Feb. 2012. Web. 28 Feb. 2012.
Wikipedia contributors. "Theatre of Japan."Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 7 Mar. 2012. Web. 27 Feb. 2012.
Mitchell, John D. and Miyoko Watanabe. Staging Japanese Theatre: Noh & Kabuki. Key West, FL: Institute for Advanced Studies in the Theatre Arts, 1994, Print.
Mitchell, John D. and Miyoko Watanabe. Staging Japanese Theatre: Aspects of Noh. Key West, FL: Institute for Advanced Studies in the Theatre Arts. 1994. Print.
Mitchell, John D. and Miyoko Watanabe. Staging Japanese Theatre: Introduction to Noh. Key West FL: Institute for Advanced Studies in the Theatre Arts. 1994. Print.
Dunn, Charles J. Everyday Life in Traditional Japan: Actors & Outcasts: Tuttle Publishing. Vermont. 1969. Print
Kalman, Bobbie. JAPAN the culture. New York. Crabtree Publishing Company. 1997. Print.
Deal, William E. Handbook To Life in Medieval and Early Modern Japan. New York: Facts On File, Inc., 2006.
Mishima, Shizuko. "Japanese Kabuki." About.com. New York Times Company, 2011. Web. 21 Mar 2012.
The Theatre
Ben H.Thuc D.
Anjali V.
Theatre is one of the many entertainments that Japan offers in the past and in the present. It is a great place to learn about Japan culture and see how differently the audience interacts with the actors compared to how we watch a play. Theatres can show you many things that can make you laugh, help you learn about the history of major events in Japan, and many other things. This source of entertainment is very important to Japan’s culture, history, and how people live in Japan.
Kabuki was developed in the early modern period and was a theatrical form especially associated with the urban merchant class in such cities as Edo, Osaka, and Kyoto. Samurais are not allowed to go to Kabuki theatres because it is dishonorable. Kabuki has its origins in women's traveling performance troupes. The leader of one such troupe, a woman named Okuni, is commonly given credit for creating Kabuki. Her troupe, performed music and dance, and acted both comedic and dramatic stories. So-called woman's Kabuki became quite popular but during the Tokugawa the Shogunate banned woman from appearing in the plays. Then men took over and now only men are allowed to perform so even when there is woman role, the men must act as a woman. But these young male performers worked as prostitutes and in 1652, the government banned young men and adolescent boys from acting in Kabuki performances. In order to control the moral lapses associated with Kabuki, the Shogunate decided to allow only performances by adult males who could legitimately claim to be serious actors. This rule would have a profound effect on the future development of Kabuki. As kabuki became theatrical form in the Edo period, it incorporated aspects of other theatrical forms, including Noh, Kyogen, and Bunraki. Both Noh and Bunraku plays, for instance, were adapted in the Kabuki play repertoire. By the late 1700s, Kabuki was an entertainment for merchants and many other classes, but samurais are not allowed to go to kabuki performances because it is considered dishonorable. But some samurais during Tokugawa period will wear a disguise to go and watch a kabuki play.The kabuki play is very different and amazing to watch because of its special revolving stage. To change scenes, the stage revolves around to show a new setting. This is called mawari-butai and is one of the famous characteristics of a kabuki stage. Another interesting thing that happens during a kabuki play is that during the play, the audience will shout out the name of the actors. Sometimes, the audience will shout out the name of the actor’s father which is really respectful and honors the actor greater than just the name of the actor. The three main categories of kabuki are jidai-mono (historical), sewa-mono (domestic), and shosagoto. Jidaimono were set within the context important major events in japan. Unlike jidaimono which generally focused upon the samurai class, sewamono focused primarily on commoners, often referred to domestic plays, generally related to family drama and romances. Shosagoto is like a dancing play which can have musical elements in the play.
Kabuki costumes are very detailed and give a really good illusion, with the right actor it will be hard for the audience to really see the actual person. Even when an actor is dressed as women, it is hard to see who the actual person is so it will feel as if that is actually a woman. In a kabuki, there are many props such as swords, silks of many colors, and tons of makeup. This makes everything look more realistic and brings the story to life and makes more interesting and fun to watch. If you ever go watch a kabuki play, you should at how the actor acts, how the interaction between the audience and the actors are, and how detailed and how nice their props and costumes are.
One of the most interesting types of theater in Japan is called Bunraku. It was originally made around 1612 when it was performed in only one theater. Then the idea of making plays spread, forming a new kind of country-wide theater, named Bunraku. Over time the theater grew enough that people started coming to it regularly. In Bunraku there are many people that help out with the play. There are people that make the puppets move, dressed in black, and up to three people per puppet. After a while people watching the play forget about the people in black and just focus on the play. There is the “tayu” that narrates and also speaks the puppets’ parts. Finally there is a samisen player, sometimes is accompanied by an orchestra. A samisen is a stringed instrument similar to a guitar. Originally the term “Bunraku” was just referring to a particular theater in Osaka, until people got the idea of the new type of theater performing and made it a country-wide theater.
It takes lots of time and effort to make props and costumes for the Bunraku plays. The puppets are life size, looking similar to real humans. The makeup on the women puppets is usually similar to the native women of Japan and the men look normal. The heads usually have carved in eyes that are painted along with the rest of the face. Sometimes the heads will also have beards and mustaches. The heads of the puppets also are divided into different categories according to gender, social class and personality. The heads are often repainted and polished before plays. The hair that goes on the heads is real human hair. It often also represents character in the puppet. For example what its personality is like and what their traits are. The costumes are designed by a costume master, composed of a series of garment with different colors and patterns. The costume usually includes a robe, an inner kimono, a sash and collar, a vest, and an outer robe. Costumes for the puppets are only repaired when soiled or worn away.
Noh is a brilliant type of theatre. People, including samurai, often come to see the plays that artisans perform. The plays have a dramatic story line, and the actors are dressed up with simple outfits, but with extremely elaborate masks. Noh is mainly acting, but can be interpreted as dance, with the way the people move. A man by the name of Kannami Kiyotsugu was the creator of Noh. He was a very involved actor, but wanted to do something different. He began to learn traditional Japanese dance, but didn’t think the dances were to suit his “style.” So, he began putting acting and dancing together, creating Sarugaku Noh. As it Kiyotsugu taught others about what he had created, it shortened into Noh. The moves were intense and required a great amount of effort, but the plays were short. Kiyotsugu was young when he developed Noh. Some of his older friends began to feel strong aches and pains, so he decided that Noh was for the young and fit, and began teaching kids the art. After a while, he, too, began to get minor aches, and started teaching his eldest son, Zeami Motokiyo. In his late twenties, Kiyotsugu retired, and his son began teaching. Motokiyo was such a great actor, as well as very flexible, he became famous. So famous, that he and a group of tremendous actors went to perform in front of the Shogun himself. The Shogun liked it so much, he decided to keep him at the court to train people the art of Noh. Traditional Noh consists of a protagonist, an antagonist, a very dramatic story line that could happen in everyday life, and background people. The background people are very talented jugglers, acrobats, stunt artists, dancers, and musicians who make the stories come to life. A standard size troupe would be about 15 to 20 people. As time developed the art, the troupes grew in size to as many as 30 people. The term Sarugaku means “monkey music”, which is the type of music the dancers use for the plays. As Noh developed, the new versions of Noh adapted into one type, called Dengaku, which means “field music.” Dengaku is considered the “modern” version of Noh. There are also different schools, or classes of Noh. They are Kanze, Hosho, Kongo, Komparu, and Kita. Each developed different types of plays, and “owned” them. Each school had an average of 5 to six plays that they practiced at a time. They would always write another, and would get rid of one to maintain the 5 plays, in order to bring something new to present. Even with this classification, in the end, everyone is an actor, and they all practice the art of Noh. The dance moves tell a story, the music gives it life, and the acrobats, jugglers, and stunt artists make it magical. Noh is an art that involves grace, communication, and dedication.
The costumes that the actors wore were very simple, but often heavy and thick. They were handcrafted from inexpensive peasant thread, and were made thick so they could last longer. The masks were also handmade, and it took as long as 2 months to make a large and detailed one. The masks were very gruesome and scary looking. They often had angry faces and were inspired by monsters. They were made of clay. The basic structure was often an oval-shaped bowl. Then, the clay was pushed and pulled to create the basic head-shape. More clay was added to draw out the features of the face. Then, a stylus was used to carve out the eyes, nose, and mouth, as well as fold in the skin. The last step was to paint the mask with colored mud or any other natural substances that have an earthy shade. People considered the traditional masks to be claustrophobic, so with modern Noh came improved masks, as well as lighter garments.
Theatre is one of the most recognized entertainments in Japan. Each of these three types of theatres is very important to Japan. These theatres have affected Japan in many ways that helps it develop and to give diversity to Japan. Theatre means many things to many cultures, but to Japan, it means history.
CitationsWikipedia contributors. "Bunraku." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 19 Feb. 2012. Web. 28 Feb. 2012.
Wikipedia contributors. "Kabuki." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 16 Mar. 2012. Web. 27 Feb. 2012.
Wikipedia contributors. "Noh." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 26 Feb. 2012. Web. 28 Feb. 2012.
Wikipedia contributors. "Theatre of Japan." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 7 Mar. 2012. Web. 27 Feb. 2012.
Mitchell, John D. and Miyoko Watanabe. Staging Japanese Theatre: Noh & Kabuki. Key West, FL: Institute for Advanced Studies in the Theatre Arts, 1994, Print.
Mitchell, John D. and Miyoko Watanabe. Staging Japanese Theatre: Aspects of Noh. Key West, FL: Institute for Advanced Studies in the Theatre Arts. 1994. Print.
Mitchell, John D. and Miyoko Watanabe. Staging Japanese Theatre: Introduction to Noh. Key West FL: Institute for Advanced Studies in the Theatre Arts. 1994. Print.
Dunn, Charles J. Everyday Life in Traditional Japan: Actors & Outcasts: Tuttle Publishing. Vermont. 1969. Print
Kalman, Bobbie. JAPAN the culture. New York. Crabtree Publishing Company. 1997. Print.
Deal, William E. Handbook To Life in Medieval and Early Modern Japan. New York: Facts On File, Inc., 2006.
Mishima, Shizuko. "Japanese Kabuki." About.com. New York Times Company, 2011. Web. 21 Mar 2012.